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Journal articles on the topic 'Italian language Drama'

Author: Grafiati
Published: 29 July 2024
Last updated: 31 July 2024

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1

Kanev, A. I. "HANDEL's OPERAS: LITERARY SOURCES, STRUCTURE, LIBRETTO LANGUAGE." Bulletin of Udmurt University. Series History and Philology 29, no. 3 (2019): 517–23. http://dx.doi.org/10.35634/2412-9534-2019-29-3-517-523.

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This article studies thirteen Italian libretti of music dramas that were staged with Handel's music in the first half of the XVIII century. The libretti texts were written by a range of authors such as N. F. Haym, A. Salvi, P. Rolli, A. Zeno, V. Grimani, A. Hill, G. Rossi, N. Minato, A. Piovene. The majority of stories are based on famous Italian and French literary pieces. The article looks at literary and linguistic aspects of libretti. The literary components are the problem of primary sources, plot features and their transformations, drama structure and texts form. The linguistic component
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Piazzoli, Erika. "Engage or Entertain? The Nature of Teacher/Participant Collaboration in Process Drama for Additional Language Teaching." Scenario: A Journal of Performative Teaching, Learning, Research VI, no. 2 (2012): 28–46. http://dx.doi.org/10.33178/scenario.6.2.5.

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This paper was presented at the conference ‘Plot me no plots: Theatre for University Language teaching’ held at the University of Padua in October 2011. The presentation included a practical demonstration of the teacher-in-role strategy and a discussion. Process drama is an experiential approach that has been gaining momentum in the field of language teaching; it is a genre of applied theatre in which the participants, together with the facilitator, engage in the co-construction of a story. As an improvised dramatic form, it encourages negotiation of meaning through the process of experience a
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Piazzoli, Erika, and Claire Kennedy. "Drama: Threat or Opportunity? Managing the ‘Dual Affect’ in Process Drama." Scenario: A Journal of Performative Teaching, Learning, Research VIII, no. 1 (2014): 52–68. http://dx.doi.org/10.33178/scenario.8.1.5.

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In this paper we discuss the construct of ‘dual affect’ and its relevance to drama pedagogy in a foreign language teaching context. We draw on a research project involving a group of advanced learners of Italian using drama-based strategies. We begin with a theoretical discussion of dual affect, aesthetic distance, and protection mechanisms in the drama/language classroom. Next, we contextualise the research study and analyse student-participants’ responses in selected moments of the drama. The analysis suggests that, while some student-participants experienced the dual affect of drama as a th
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Fonio, Filippo, and Geneviève Genicot. "The compatibility of drama language teaching and CEFR objectives – observations on a rationale for an artistic approach to foreign language teaching at an academic level." Scenario: A Journal of Performative Teaching, Learning, Research V, no. 2 (2011): 75–89. http://dx.doi.org/10.33178/scenario.5.2.6.

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The elaboration of the rationale proposed here finds its roots in an examination of the CEFR (Common European Framework of Reference for Languages) parameters. We are notably interested in highlighting the importance of artistic practice – and in particular of drama performance – in the context of foreign language learning. We are thus proposing here considerations concerned with the estimation of artistic practice as a specific way of teaching and learning foreign languages. Our usual target group consists of Bachelor and Master students interested in learning Italian through drama techniques
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De Martino, Alessandra. "DIDATTICA TEATRALE E APPRENDIMENTO DELL'ITALIANO COME LINGUA STRANIERA." Revista Internacional de Culturas y Literaturas 19, no. 19 (2016): 237–48. http://dx.doi.org/10.12795/ricl.2016.i19.20.

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Dalziel, Fiona, and Erika Piazzoli. "“It comes from you”: Agency in adult asylum seekers’ language learning through Process Drama." Language Learning in Higher Education 9, no. 1 (2019): 7–32. http://dx.doi.org/10.1515/cercles-2019-0001.

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Abstract In this paper, we present a study of adult asylum seekers learning Italian as a Second Language through Process Drama. Adopting an ecology of language approach, we first set the scene by examining some of the most salient issues regarding the language learning needs of asylum seekers and refugees, including the challenge of fostering both language proficiency and a sense of autonomy and agency. We then introduce the topic of performative, or drama-based pedagogy, focussing on how this has been adopted for second-language learning, presenting the main features of Process Drama. We go o
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Jordan, Peter E. R. "Second Language Acquisition And Linguistic Freedom Through Drama." English Review: Journal of English Education 4, no. 1 (2015): 15. http://dx.doi.org/10.25134/erjee.v4i1.312.

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The important part played by drama in second language acquisition has long been appreciated. An active and inter-active teaching environment facilitates learning in a number of ways, by motivating and sustaining attention, as well as offering a secure environment for experimentation. Drama offers students a pro-active approach to learning, promoting a collective feeling of being in a shared enterprise. This paper discusses how drama can make a significant contribution to second language acquisition. In particular, I focus on the techniques of the Italian Commedia dell’Arte, the first truly pro
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Troiani, Sara. "Ettore Romagnoli traduttore delle Baccanti." Greek and Roman Musical Studies 10, no. 1 (2022): 189–216. http://dx.doi.org/10.1163/22129758-bja10037.

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Abstract At the beginning of the Twentieth Century the Italian philologist Ettore Romagnoli popularised ancient classical culture through his work as translator and director of performances of Greek and Roman dramas. In his plays he attempted to reproduce the unity of the arts that belonged to the mousikē technē and to achieve a modern recreation of ancient sounds and rhythms. The paper aims to analyse the translation of Euripides’ Bacchae by Romagnoli (1912), comparing it with his studies on Greek music and tragedy and with operas. On the one hand, Romagnoli’s translation in Italian verses is
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9

Piazzoli, Erika C. "Reflection-in-action in cross-language qualitative research." Qualitative Research Journal 15, no. 1 (2015): 74–85. http://dx.doi.org/10.1108/qrj-10-2013-0059.

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Purpose – The purpose of this paper is to reflect on reflective practice as a qualitative methodology, and reflection-in-action as a modus operandi to engage with the artistry of cross-language qualitative research. Design/methodology/approach – The author draws on the doctoral research, a cross-language multiple case study aimed at investigating the author’s evolving understanding, as a reflective practitioner, of drama-based pedagogy for teaching Italian as a second language. Findings – A reflective analysis of the author’s tacit decision making during drama improvisation unveiled a clash be
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Bora, Simona Floare. "Exploring learners’ perceptions towards collaborative work through drama in foreign language learning: A view from a mandatory Italian high-school curriculum." Scenario: A Journal for Performative Teaching, Learning, Research XIII, no. 2 (2019): 171–86. http://dx.doi.org/10.33178/scenario.13.2.11.

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This article focuses on learners’ perceptions related to the collaborative work through a drama project undertaken as part of a rather rigid high-school mandatory curriculum. The project aimed to offer a dynamic and safe learning environment in which learners could acquire language in an interactive and collaborative way and to help the learners to develop their oral skills and increase their motivation towards learning a foreign language. A class of final year Italian students (n=10) with a level of language ranging from low intermediate to upper intermediate took part in the drama classes wh
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Caponi-Doherty, Gabriella. "Dramatic Interactions: Teaching Languages, Literatures and Cultures through Theater—Theoretical Approaches and Classroom Practices, edited by Colleen Ryan and Nicoletta Marini-Maio." Scenario: A Journal of Performative Teaching, Learning, Research VI, no. 2 (2012): 88–90. http://dx.doi.org/10.33178/scenario.6.2.9.

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This rich collection of essays is an apt follow up to the excellent previous volume on theatre and language pedagogy – Set the Stage! Teaching Italian through Theater. Theories, Methods, and Practices – published by the two co-editors - Colleen Ryan (Indiana University) and Nicoletta Marini-Maio (Dickinson College) – in 2009. While the previous volume was intended specifically to offer resources to teachers and students to help them incorporate the Italian theatre tradition into the language curriculum, this new collection seeks to confirm the effectiveness of using theatre for foreign languag
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Schmenk, Barbara. "Helga Tschurtschenthaler: Drama-based foreign language learning. Encounters between self and other." Scenario: A Journal of Performative Teaching, Learning, Research X, no. 1 (2016): 107–10. http://dx.doi.org/10.33178/scenario.10.1.8.

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Book reviews reflect the views and opinions of the respective reviewers and do not necessarily represent the position of SCENARIO. Helga Tschurtschenthaler’s study is one of the most important scholarly contributions in recent years to the field of drama-based foreign language teaching. She conducted her research in an EFL class in an upper secondary school in multilingual South Tyrol and presents a plethora of data that demonstrates the impact of drama in foreign language education on students’ sense of self as emerging multilingual subjects (Kramsch 2009). What stands out about this study, b
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Cunico, Sonia. "Translating (dis)ordered speech in drama." Babel. Revue internationale de la traduction / International Journal of Translation 51, no. 1 (2005): 1–15. http://dx.doi.org/10.1075/babel.51.1.01cun.

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Abstract Although the topic of the representation of madness is a rich and much studied one in literary criticism, so far there has been no systematic attempt to analyse the language of madness in dramatic texts, either within the same language and culture or across them. This paper compares the strategies used to characterise the growing insanity of the king and the dynamics of his interaction with Willis, the doctor, in Alan Bennett’s successful play The Madness of George III (1992) with those in its published translation into Italian (1996). The article shows how an analysis of the strategi
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14

Bujic, Bojan, and Deirdre O'Grady. "The Last Troubadours: Poetic Drama in Italian Opera 1597-1887." Modern Language Review 90, no. 1 (1995): 218. http://dx.doi.org/10.2307/3733341.

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15

Clare, Janet, Michele Marrapodi, and Giorgio Melchiori. "The Italian World of English Renaissance Drama: Cultural Exchange and Intertextuality." Modern Language Review 96, no. 1 (2001): 158. http://dx.doi.org/10.2307/3735736.

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Dalziel, Fiona. "Aroused from a “false sense of neutrality“." Scenario: A Journal for Performative Teaching, Learning, Research XV, no. 2 (2021): 80–84. http://dx.doi.org/10.33178/scenario.15.2.7.

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The three black and white photographs that provide the impetus for this piece are the work of students participating in an English drama workshop at an Italian university. The brief discussion around the tableaux task “Art is not neutral”, inspired by Cañas’ manifesto, is framed by critical language pedagogy and addresses the issue of students’ agency as socially-responsible citizens.
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17

Licastro, Emanuele. "Review: Twentieth-Century Italian Drama: An Anthology the First Fifty Years." Forum Italicum: A Journal of Italian Studies 31, no. 2 (1997): 561–63. http://dx.doi.org/10.1177/001458589703100221.

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18

Laviosa, Sara. "Translation as Adaptation for Language Pedagogy." Linguaculture 2014, no. 1 (2014): 63–72. http://dx.doi.org/10.1515/lincu-2015-0014.

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Abstract This paper explores, within an ecological perspective on language learning (cf. van Lier 2004), the valuable role that translation as adaptation can play in mediating and making sense of cross-cultural experiences in the multilingual language classroom. The aim is to develop a multilingual pedagogy that includes translation as adaptation as an integral part of the language curriculum in order to foster translingual and transcultural competence, this being the goal of foreign language education in the 21st century (cf. MLA 2007:2). The first part of the paper introduces the theoretical
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19

C. Kingsbury, Kelly. "Nicoletta Marini-Maio and Colleen Ryan-Scheutz (eds) (2008). Set the Stage! Teaching Italian through Theater." Scenario: A Journal of Performative Teaching, Learning, Research III, no. 2 (2009): 74–76. http://dx.doi.org/10.33178/scenario.3.2.7.

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Set the Stage! Teaching Italian through Theater: Theories, Methods, and Practices (Yale, 2008), edited by Nicoletta Marini-Maio and Colleen Ryan-Scheutz, is a tremendously valuable contribution to the growing body of literature on drama and theatre in foreign/second language (L2) education. This volume contains eleven chapters addressing a diverse array of topics, a comprehensive director’s handbook, and reflective contributions by Dario Fo, Franca Rame and Dacia Maraini, three of Italy’s most prominent theatre practitioners engaged with pedagogical questions related to the learning of L2 Ital
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20

Taviano, Stefania. "Translating Migration: Art Installations against Dehumanizing Labelling Practices." Languages 8, no. 3 (2023): 221. http://dx.doi.org/10.3390/languages8030221.

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Migration is commonly described as a threat through images of invasion and flood in Western media. Migrants and asylum seekers tend to be the target of hate speech together with other vulnerable groups and minorities, such as disabled people, and definitions and labels have precise implications in terms of social justice and human rights. Migrant is an umbrella term used to refer to a variety of people who leave their countries of origin. Out-of-quota and dubliner are further labels, together with asylum seekers. Through an interdisciplinary approach, adopting a translation perspective on soci
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21

Li, Qiang. "Peculiarities of the mutual influence of Italian and Chinese musical theater tradition in historical development." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 67, no. 67 (2023): 56–77. http://dx.doi.org/10.34064/khnum1-67.04.

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Statement of the problem. Modern opera performance art in China is closely related to the national theater tradition, which has a thousand-year history. Despite the fact that Italian (and generally European) musical and dramatic art has been known in China for more than a few century, the public did not perceive it for a long time due to significant differences in many aspects: from stage dramaturgy, vocal roles to behavioral norms in the theater institutions. This study draws historical parallels between Italian opera and national Chinese music-theatre art and examines attempts to adapt Itali
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Shapiro, H. A. "Attic Comedy and the ‘Comic Angels’ Krater in New York." Journal of Hellenic Studies 115 (November 1995): 173–75. http://dx.doi.org/10.2307/631658.

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The centerpiece of Oliver Taplin's recent monograph on Greek drama and South Italian vase-painting is an Apulian bell-krater of the early fourth century in a New York private collection (Plate IV). The vase belongs to the genre conventionally known as phlyax vases, though Taplin would reject that label, since it is the thesis of his book that many, if not most, of these vases reflect Athenian Old Comedy and not an indigenous Italic entertainment, the phlyax play.
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Silver, Cassandra. "Making the Bedouins: Code-Switching as Model for the Translation of Multilingual Drama." Theatre Research in Canada 38, no. 2 (2017): 201–18. http://dx.doi.org/10.3138/tric.38.2.201.

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The translation of theatre from one linguistic and cultural context to another can be uniquely challenging; these challenges are multiplied when the source text is itself multilingual. René-Daniel Dubois’s Ne blâmez jamais les Bédouins, translated into English under the name Don’t Blame the Bedouins by Martin Kevan, unfolds in English, French, Italian, German, Russian, and Mandarin. The original “French” text presents as postdramatic, deconstructing language and identity in a sometimes frenetic pastiche. Kevan’s “Anglophone” text, however, resists the postdramatic deconstruction in the origina
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24

Stampino, Maria Galli. "Corinna Salvadori, Peter Brand and Richard Andrews, Overture to the Opera. Italian Pastoral Drama in the Renaissance." Forum Italicum: A Journal of Italian Studies 48, no. 1 (2014): 145–47. http://dx.doi.org/10.1177/0014585813518014.

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Clare, Janet. "The Italian World of English Renaissance Drama: Cultural Exchange and Intertextuality by Michele Marrapodi Italian Studies in Shakespeare and His Contemporaries by Michele Marrapodi , Giorgio Melchiori (review)." Modern Language Review 96, no. 1 (2001): 158–60. http://dx.doi.org/10.1353/mlr.2001.a825528.

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Leonard, Alice. "“Enfranchised” Language in Mulcaster’s Elementarie and Shakespeare’s Henry V." Revista Alicantina de Estudios Ingleses, no. 25 (November 15, 2012): 127. http://dx.doi.org/10.14198/raei.2012.25.10.

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This article is a study of early literary theory and practice in Renaissance England, which focuses specifically on Shakespeare’s language use. The end of the sixteenth century in England experienced a linguistic revolution as Latin was gradually replaced by vernacular English. Renaissance rhetoricians such as George Puttenham and Thomas Wilson patriotically argued that English was capable of employing figures of speech to express complex ideas. Yet in this period the vernacular was in a process of formation, demonstrated by Richard Mulcaster’s Elementarie (1582). He argued for the expansion o
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KARAMANOU, IOANNA. "AN APULIAN VOLUTE-CRATER INSPIRED BY EURIPIDES' DICTYS." Bulletin of the Institute of Classical Studies 46, no. 1 (2003): 167–75. http://dx.doi.org/10.1111/j.2041-5370.2003.tb00738.x.

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Abstract This paper aims to substantiate the relation of an Apulian vase-painting to a fourth-century revival of Euripides' Dictys. The obverse shows Perseus returning to Seriphos with the Gorgon's head, with Danae and Dictys as suppliants at Poseidon's altar, and king Polydectes. Its dramatic inspiration is suggested by the depiction of characters in stage-costumes, the ‘speaking’ gesture used by Dictys, the conventional aedicula-pattern, and the Dionysiac scene on the reverse. The lack of evidence for Aeschylus' Polydectes implies its reduced popularity, and makes it unlikely to have inspire
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Bassnett, Susan, J. R. Dashwood, and J. E. Everson. "Writers and Performers in Italian Drama from the Time of Dante to Pirandello: Essays in Honour of G. H. McWilliam." Modern Language Review 88, no. 3 (1993): 778. http://dx.doi.org/10.2307/3734987.

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Munteanu, Emilia. "Briser les barrières ou enseigner-apprendre le FLE par le jeu théâtral." Taikomoji kalbotyra, no. 11 (August 8, 2018): 41–58. http://dx.doi.org/10.15388/tk.2018.17245.

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A l’ère de la mondialisation, l’accès illimité à l’information modifie de plus en plus le rapport des jeunes gens mais surtout la vision des adultes du troisième âge à l’égard des barrières de l’apprentissage. De nos jours, de nombreuses institutions d’enseignement et des ONG proposent aux derniers une large panoplie d’activités dans le but de leur faire acquérir de nouvelles compétences et capacités linguistiques, culturelles, techniques, artistiques, etc. En tant que formateurs en FLE, nous avons cherché à briser les barrières qui séparent les générations et à favoriser la communication entr
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Markov, Alexander V. "PATTERNS OF RENAISSANCE EPISTOLOGRAPHY IN THE EXPERIMENTAL PROSE OF ALEXANDER ILYANEN." Practices & Interpretations: A Journal of Philology, Teaching and Cultural Studies 5, no. 2 (2020): 122–42. http://dx.doi.org/10.18522/2415-8852-2020-2-122-142.

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The online prose of Alexander Ilyanen, recognized as one of the most significant experiments of Russian literature today, is not only a reflection on the possibilities of writing and utterance, but also an experience of rewriting of written forms. Recent prose of Ilyanen is a kind of philological observation of the usability of different types of writing to assemble a meaningful statement about the current quarantine situation. Correlation of these types of writing with the usual genres is not relevant, even introducing general framework of the novel and drama. Renaissance Italian epistolograp
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Smith, Paul Julian. "Screenings." Film Quarterly 71, no. 3 (2018): 72–76. http://dx.doi.org/10.1525/fq.2018.71.3.72.

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Italian television scholar Milly Buonanno has often complained that, in this second Golden Age of TV, academic attention is focused almost exclusively on the United States. Even in a country like Spain, newspapers dutifully recap each episode of American premium-cable and streaming-service series while ignoring their own local productions. Hence, the importance of Buonanno's new collection Television Antiheroines: Women Behaving Badly in Crime and Prison Drama, which tracks its female figures on screens from Italy and France to Australia and Brazil. Smith examines two prominent Spanish languag
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Medda, Laura. "Scrivere per il teatro Il mondo sardo nei racconti drammatici di Giuseppe Dessì." Revista Italiano UERJ 12, no. 1 (2021): 18. http://dx.doi.org/10.12957/italianouerj.2021.61943.

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ABSTRACT: Questo articolo riguarda i testi per il teatro dello scrittore sardo Giuseppe Dessì (Cagliari, 1909 – Roma, 1977). Nell'ordine, presentiamo i Racconti drammatici - Qui non c'è guerra, La Giustizia - (Feltrinelli, 1959) e il dramma storico Eleonora D'Arborea (Mondadori, 1964). Importante autore di romanzi e racconti, in questi testi, Giuseppe Dessì rappresenta la complessità del mondo sardo in linea di continuità con quanto espresso nelle sue pagine narrative e saggistiche. Il teatro permette allo scrittore di sperimentare un nuovo linguaggio capace di rappresentare, attraverso i pers
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Golovashych, Eduard. "Oleksandr Myshuha's pedagogical school and philanthropy." Bulletin of Luhansk Taras Shevchenko National University, no. 6 (354) (2022): 12–17. http://dx.doi.org/10.12958/2227-2844-2022-6(354)-12-17.

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The materials of the article introduce the pedagogical school of an outstanding Ukrainian, the world-famous singer Oleksandr Pylypovich Myshuga, who managed to combine the national traditions of singing with the Italian professional school of bell canto, creating his own scientific and artistic vocal school. Oleksandr Pylypovich's pedagogical legacy still holds a deep place in the development of the vocal class of the National Music Academy of Ukraine, where two of his students – Mykhailo Venediktovych Mykysha and Maria Eduardivna Donets-Tesseir – once worked. Myshuga is known not only as an o
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Bąkowska, Nadzieja. "Maska czy gęba? Operetka Witolda Gombrowicza w kontekście komedii dell’arte." Poznańskie Studia Polonistyczne. Seria Literacka, no. 38 (October 15, 2020): 103–23. http://dx.doi.org/10.14746/pspsl.2020.38.5.

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The article is an attempt at placing Operetka (Operetta) in the context of commedia dell’arte by comparing the basic structural and ideological characteristics of Witold Gombrowicz’s drama with the key traits of the commedia dell’arte genre. The author of Ferdydurke, who coined the phrase przyprawiać (komuś) gębę (put the screws to someone’s mug), brings to the grotesque distortion any manifestations of form domination both in life and in art. Ironically, it is the elements of Operetka, related to commedia dell’arte – a thoroughly conventionalised and schematised genre, that become the tool fo
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Li, Yunjie, and Tsetsegdelger Damdindorj. "Analysing the Singing Style and Teaching of American Voice in Colleges and Universities." Frontiers in Business, Economics and Management 13, no. 1 (2024): 183–86. http://dx.doi.org/10.54097/vz91cz42.

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Many foreign opera vocal works singing, in the Romantic period emerged many composers, such as Mozart with a unique perspective, clear creative style led the whole European opera era, such as "The Marriage of Figaro" so far in the college teaching and practice singing is an important teaching of the basic curriculum, but in the college American vocal vocal music teaching involves the singing and performance of the content is poor. However, no matter from the inheritance and development of Chinese American vocal opera, or as a teacher engaged in vocal music teaching, it is indispensable to anal
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Adetu, Edith Georgiana. "Verdian lyric theatre. Hermeneutics of the performance and contemporary challenges." Artes. Journal of Musicology 23, no. 1 (2021): 196–206. http://dx.doi.org/10.2478/ajm-2021-0011.

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Abstract Engaging the viewer in a dialogue with the opera of Giuseppe Verdi is an approach that involves him spiritually, culturally, morally. You can enter this universe of opera music through several gates. The wide path of science will walk through the portal of stylistics, aesthetics, philosophy or art history. On another road comes the profane, motivated by the love for the beautiful. The opera Nabucco was the first step in the evolution of Italian lyrical theatre – from melodrama to realistic drama – characterised by the unity and strength of artistic conception, the energy and simplicit
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TYMOFIEIEVA, Yulia. "TRANSFRONTALITY OF LITERARY IMAGES: EXTRAPOLATION OF THE ITALIAN PUPPET HERO PULCINELLA." 7, no. 7 (December 26, 2022): 86–107. http://dx.doi.org/10.26565/2521-6481-2022-7-05.

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The article concerns one of the most important characters of national Italian puppet theatre, the marionette Pulcinella, and its influence on the images of folk heroes of puppet and drama theaters, street performances and literary works in European countries. National invariants of this character in the theaters and literatures of Western and Central Europe from the time of the appearance of this character to the beginning of the twentieth century are highlighted. Due to the expansion of economic and political ties, from the beginning of the 17th century, Pulcinella, together with itinerant ar
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Kolesnyk, Evdokia. "Education of a Singer-Actor in the Context of the Ukrainian Opera School." Часопис Національної музичної академії України ім.П.І.Чайковського, no. 2(55) (June 16, 2022): 111–24. http://dx.doi.org/10.31318/2414-052x.2(55).2022.266551.

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The article examines the process of formation of the Ukrainian national opera school, establishing its fundamental principles in the context of the successive activities of several generations of vocal teachers. The author substantiates in detail the necessity of training a universal opera singer with fluency in the vocal technique of performing the Ukrainian and foreign repertoire in the original language. The specificity of the training of a singer-actor of the opera genre is determined in the context of the integrative interaction of domestic and foreign vocal systems. The algorithm of this
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Mikusi, Balázs. "Minerva’s Hat and the Emperor’s Tailcoat: August Adelburg’s Cosmopolitan “National Opera” Zrínyi." Studia Musicologica 52, no. 1-4 (2011): 65–83. http://dx.doi.org/10.1556/smus.52.2011.1-4.5.

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Born to a Croatian father in Constantinople and educated in Vienna, August Adelburg (1830–1873) was a true cosmopolitan. His explicitly “national opera” about Miklós Zrínyi (c1508–1566), a Hungarian national hero of Croatian origins, was premiered in Hungarian translation on 23 June 1868 in the National Theater in Pest. The libretto (originally in German, and adapted by the composer from a drama by Theodor Körner) includes a preface that adumbrates a wholesale theory of cosmopolitanized national opera, as it were. Elaborating his views as expressed in his 1859 essay against Liszt’s On the Gyps
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Smart, Mary Ann. "In Praise of Convention: Formula and Experiment in Bellini's Self-Borrowings." Journal of the American Musicological Society 53, no. 1 (2000): 25–68. http://dx.doi.org/10.2307/831869.

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In the 1880s, the realization that Bellini had extensively reused melodies from early or unfinished works in his most famous operas provoked a small aesthetic crisis in Italy. Although today such reuse of material is no longer looked upon as a scandalous breach of compositional integrity, scholars have been slow to examine Bellini's self-borrowings for clues to the evolution of his style or to his attitudes toward the relations between melody and drama. Most of Bellini's self-borrowings show the composer simplifying his melodies, reducing harmonic and melodic variety as if to distance himself
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Bortnyk, K. V. "Characteristic aspects of teaching the discipline “Dance” to the students of the specialization “Directing of the Drama Theatre”." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 51, no. 51 (2018): 258–73. http://dx.doi.org/10.34064/khnum1-51.15.

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Background. Modern theatre education in Ukraine is carried out through the extensive teaching system, which also includes different aspects of the training of future directors of the drama theatre. Some hours in academic programmes of institutions of higher theatre education are given for plastic training, which is carried out in the lessons of eurhythmics, stage movement, stage fencing, as well as dance. As for the latter, among the whole complex of disciplines connected with moving, the discipline “Dance” has the most significant value, as choreography today is one of the most demanded expre
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Whittemore, Hank. "To Be or Not To Be a Genius: The Argument for Acquired Knowledge and Life Experience." Journal of Scientific Exploration 37, no. 2 (2023): 270–92. http://dx.doi.org/10.31275/20233117.

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The personal attitudes and experiences of the greatest authors are usually reflected in their works, a phenomenon that gives literary biography its rich potential for new revelations and insights. Within this premise, the Shakespearean poems and plays appear to reflect the viewpoint and education of a high-ranking Elizabethan nobleman of vast experience and deep learning. In fact, many aspects of the life of Edward de Vere, 17th Earl of Oxford, appear to be closely mirrored by the title character of Hamlet, Prince of Denmark. Both the Earl and the Prince are each on intimate terms with a femal
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Lyan, Tszitao. "The image of Andrea from the opera “Andrea Chenier” by U. Giordano: the history of vocal interpretations." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 50, no. 50 (2018): 29–42. http://dx.doi.org/10.34064/khnum1-50.03.

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Formulation of the problem. U. Giordano is a bright representative of the late romantic tradition of the Italian opera of the turn of the 19th-20th centuries. Among the brightest stage versions of his most famous opera “Andrea Chenier”, within this study we have selected a number of the key implementations of Andrea Chenier’s part, which show the constant and mobile signs of the interpretation of this famous opera image. The purpose of the study is to identify the features of interpreting the image of Andrea Chenier from the opera of the same name by the performers of various schools in the as
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BURKE, PETER. "The hybridization of languages in early modern Europe." European Review 14, no. 1 (2006): 105–10. http://dx.doi.org/10.1017/s1062798706000093.

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This article argues that European vernaculars were in closer contact with one another and with languages spoken outside Europe in the 16th and 17th centuries than they had been in the Middle Ages, when Latin dominated written communication. Increased contact led to borrowing, mixing and hybridization, some of it highly self-conscious (as in the case of ‘macaronic’ poetry and drama). Mixing in turn led to a ‘purist’ reaction, first in the case of Latin and then in the case of vernaculars such as Italian, French, German, Dutch and even – to a lesser extent – English.
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Bellomi, Paola. "El fénix sefardí. Sobre la existencia de un teatro judeo-ibérico en Italia (Proyecto E.S.THE.R.)." Sefarad 79, no. 2 (2019): 447. http://dx.doi.org/10.3989/sefarad.019-013.

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Si bien la producción poética y narrativa sefardí es bien conocida, en Italia falta un estudio de la producción dramática, un género amado y atendido por el público sefardí. La tendencia de los estudiosos es considerar los primeros siglos de la diáspora como un período escasamente prolífico desde un punto de vista artístico, precisamente debido a las migraciones que involucraron a comunidades enteras. Por el contrario, en el caso italiano, algunos investigadores han hablado de un «Siglo de oro de las letras sefardíes», un florecimiento cultural que se justifica con la estabilidad socioeconómic
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Bernard, Enrico. "L’italiano ha mille anni: Spunti drammatici sull’origine della lingua e della letteratura italiane in occasione della svolta millenaria del nostro idioma." Forum Italicum: A Journal of Italian Studies 48, no. 3 (2014): 551–61. http://dx.doi.org/10.1177/0014585814542583.

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La lingua italiana è nata circa un millennio fa dalla trasformazione della liturgia drammatica in dramma liturgico. Attori di questo processo sono stati i “comici” che hanno sviluppato il dramma per la comprensione liturgica e per intrattenere il pubblico su temi religiosi conosciuti. Si è innescato così un processo abbastanza rapido di delatinizzazione e “involgarimento” delle sacre rappresentazioni che, spostandosi dall’altare alle piazze, hanno preso la forma meno solenne di laudi e misteri buffi. Questo processo è stato però messo in ombra dal tentativo – che ha origini lontane, addirittur
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Aramburu Sánchez, Celia. "ARAMBURU, C. (Universidad de Salamanca): UGO BETTI, ‘CORRUZIONE AL PALAZZO DI GIUSTIZIA’. EL DRAMA, SU CONTEXTO Y SU TRADUCCIÓN." TRANSFER 7, no. 1-2 (2012): 126–34. http://dx.doi.org/10.1344/transfer.2012.7.126-134.

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Corruzione al palazzo di giustizia es un drama muy polémico puesto que cuestiona la honestidad y la eficiencia de la justicia, uno de los pilares del estado moderno. Esta obra se estrenó en Roma en 1949. Por entonces, Italia atravesaba un momento culminante en su transformación como estado dentro del conjunto de Europa. La traducción española es de 1952, y se produjo durante la sexta legislatura del régimen de Franco, cuando aún estaba vigente la censura. En ese contexto resulta bastante extraño que un hombre de teatro como José Luis Alonso se atreviera a traducir y publicar un drama de Ugo Be
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Titova, Halyna. "The Opera "The Barber of Seville" by Giocchino Rossini in Domestic Paradigms." Часопис Національної музичної академії України ім.П.І.Чайковського, no. 3-4(52-53) (December 14, 2021): 217–32. http://dx.doi.org/10.31318/2414-052x.3-4(52-53).2021.251823.

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The article reveals the stage interpretations of G. Rossini's "The Barber of Seville" on the Kyiv opera stage in the second half of the 20th — early 21st centuries by the directors Mykola Smolych (1944) and Dmytro Smolych (1955), Dmytro Hnatyuk (1979), (1990), A. Solovyanenko (2019). The author clarifies the relevance of the appeal to opera in the socio-cultural realities of today, substantiates the request of the audience of the information technology era on the chosen topic and the need to rethink the work at the beginning of the Romantic era in accordance with modern theater scene possibili
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Alonso Asenjo, Julio. "Teatro musical en festejos escolares hispánicos de la Edad Moderna." Rilce. Revista de Filología Hispánica 30, no. 1 (2014): 19–43. http://dx.doi.org/10.15581/008.30.302.

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Partes o elementos musicales hubo regularmente en los festejos teatrales escolares. Pero, a partir de la aparición del teatro musical en Italia y su aceptación en las cortes en el siglo XVII, se montan también espectáculos musicales en festejos escolares del ancho mundo hispánico. En este artículo, tras breve introducción, se hace relación de esos espectáculos de alguna manera conocidos, hasta fines del siglo XVIII, clasificándolos por géneros (ópera, oratorio, zarzuela, drama músico, fiesta real), con referencias particulares al funcionamiento musical de El sacro nombre de Augusto, festejo es
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Luque, Rocío. "La donna nel dramma italiano della seconda metà del XX Secolo." Estudios Románicos 27 (October 19, 2018): 197–209. http://dx.doi.org/10.6018/er/346641.

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 Se la letteratura dagli anni Settanta del XX secolo, dapprima timidamente e poi con forza sempre maggiore, riesce a dare voce alla donna, a renderla visibile, il teatro la “rappresenta” in tutto il suo essere rivendicando il diritto di imporsi nel mondo, riconoscendole la capacità di incidere nel tessuto sociale e di operare trasformazioni epocali. È innegabile difatti che il teatro, nascendo da pulsioni d’ordine antropologico nella cui zona di confine s’intersecano generi e linguaggi molteplici, dia vita così ad un processo di sintesi e di contaminazioni in cui si perp
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